ADDAC System 805 Eurorack Module Offers Four-Quadrant Mixing
Inspired by its renowned 701 VCO waveform mixing section, the 805 VC Signal Router employs three X-faders for advanced morphing and sweeping of signals
Lisbon, Portugal, December 20, 2019 — ADDAC System has announced availability of its new 805 VC Signal Router. While taking up just 8hp of space and priced at €160, the VC Signal Router is an economical way to add significant dimension and new signal flow options to just about any modular set up.
Inspired by ADDAC System’s 701 VCO waveform mixing section, the new VC Signal Router also updates the company’s legacy X-Fade/Panner to a stereo configuration that also allows four quadrant mixing. This feature is achieved by using the stereo Master knob as an X-fader between the left and right channels. By plugging in the four audio sources and sweep/crossfade between any of them using the three combined X-faders, users can plug any four sources (for instance, four waveforms of a VCO, four LFOs, four envelopes) — then sweep, morph or mix them to their heart’s content.
“Our VC Signal Router builds on some basic mixing principles derived from our 701 VCO waveform mixing section, while bringing in a new dimension of sound placement possibilities,” said André Gonçalves, founder of ADDAC System. “Even though the 805 requires a relatively small investment. four quadrant mixing can add a glacial effect to just about any soundscape.”
A peculiar signal flow meant to inspire The VC Signal Router features two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control. Left and Right X-fader channels can also be routed through the Master stereo VCA or sent directly to the outputs. Further, a stereo Direct input can also be routed through the Master VCA or sent straight to the outputs.
The Mono Sum output always mixes Left and Right outputs together, allowing users with the possibility of using the module as a peculiar six channel mono mixer. It can be used for both Audio or CV Signals.
Features:
6 mono inputs
2 dedicated X-faders with Control knob + CV Input and Attenuverter Each X-fader can be routed through the Master mix or straight into the outputs.
Master channel can be used as a stereo VCA or an X-fader Stereo direct inputs can be routed through the Master mix or straight into the outputs.
Fully analog audio path with high quality/low noise VCAs.
About ADDAC System ADDAC System develops advanced instruments for sonic expression. The company began in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Today, ADDAC System’s product line is focused on a new breed of hybrid synths that utilize the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. ADDAC System’s solutions — which are used in many musical genres — can be found in many personal studio throughout the world and routinely used by musicians in several planes of stardom.
TA Programming announces availability of Studio MIDI And CV Interface full synthesizer control system debut LONDON, UK: following a successful showcase in October at Sheffield’s Synthfest UK 2019, billed as being the UK’s biggest synthesizer event, advanced creative technology designer TA Programming is proud to announce availability of its inaugural Studio MIDI And CV Interface full synthesizer control system — capable of controlling multiple synthesizers simultaneously via voltage control outputs and MIDI/USB with extra-low latency while keeping analogue instruments, vintage or otherwise, perfectly in tune with each other — as of December 20… According to TA Programming CEO/CTO Tim Aviss, “We designed this interface to be not just a solution to problems that we’d encountered when controlling synthesizers in the past, but to unlock a whole new world of creativity with synthesizers from one interface.” Indeed, TA Programming’s debut design does just that, thanks to its innovative implementation of complimentary connections, comprising MIDI In and MIDI Out alongside USB I/O for MIDI and serial bus connectivity, together with four universal CV CONTROL outputs. On the face of it, then, the Studio MIDI And CV Interface full synthesizer control system is creatively kitted out to target the hotly-contested competition out there already. After all, those four universal CV CONTROL outputs can perform any function regardless of whether it is for producing Pitch, Gate, or Aux signals. Saying that, an unlimited number of universal CV CONTROL outputs can quickly be created by daisy-chaining multiple interfaces via the MIDI ports. Also, any source — such as Pitch, Note On/Off, Velocity, Aftertouch, any MIDI CC number, signals from a DAW, and more besides — can be selected via USB or MIDI. Fortunately for anyone putting the Studio MIDI And CV Interface to the test, the voltage of the configured output is completely user definable between -9V and +10V, providing plenty of range to satisfy the requirements of almost all synthesizers, past and present. Put it this way: with this level of versatility, the Studio MIDI And CV Interface provides its users with complete control over note range scale — from microtonality all the way through to the limits of the connected synthesizer. Thankfully, TA Programming’s proprietary tuning technology is capable of handling even the most stubborn scaling issues, effectively eliminating scaling and tuning issues on any analogue synthesizer, including non-linearities. This technology is built upon a six-point multi-mapping system that uses advanced interpolation and modelling algorithms all within a floating-point mathematical model before conversion to control voltages are applied in real time. In other words, once a tuning profile has been configured for the synthesizer concerned, TA Programming’s proprietary tuning technology works out the control voltages said synthesizer needs, regardless of tempco (temperature compensating) resistor variation, in order to produce pitch-perfect notes in real time — a must-have for owners of vintage or more modern analogue synthesizers alike! Additionally, the Studio MIDI And CV Interface is MPE (MIDI Polyphonic Expression) compatible, capable of sending out full MPE via MIDI DIN or mapping single channel/polyphonic MPE out of the universal CV CONTROL outputs. As all five control dimensions are natively supported, users can be sure that their synthesizers will be as musically expressive as allowed by the MPE method. Meanwhile, the interface itself has internal circuitry powered by USB. Ultimately, however, TA Programming pushed itself hard to ensure that the power supply can tolerate variances in input voltage so that the resulting supply is always as clean as possible, providing the highest control voltage accuracy, as well as preserving tuning and configuration regardless of the USB host. Having said all that, TA Programming’s powerful control software allows anyone to completely configure their Studio MIDI And CV Interface. In addition to this, they can host USB MIDI controllers in the software itself, thereby bypassing their DAW, if desired. Said software also provides plentiful MIDI processing features — from LFOs to BPM-locked arpeggiators, keyboard splitting over MIDI, and much more. TA Programming plans to regularly update the interface’s firmware and control software so that its users can always access the latest features following their initial purchase. Last, but by no means least, the Studio MIDI And CV Interface always automatically stores its user’s current configuration with no need to click save. So feel free to travel between recording studio and performance venue safe in the knowledge that their current configuration will automatically load when the interface is powered back up. Upon connection to their computer, the control software will automatically pull the current configuration from the interface itself to allow for easy editing. And as if this was not exciting enough, an unlimited number of presets and profiles for all the synthesizers in anyone’s setup can be saved to the computer and reloaded into the interface at any time. TA Programming looks all set to play to win with its inaugural Studio MIDI And CV Interface. Owners of vintage and more modern synthesizers simply owe it to themselves and their treasured instruments to test TA Programming’s debut design. It is no ordinary MIDI-to-CV convertor, clearly! The Studio MIDI And CV Interface is initially available for purchase — priced at £249.00 GBP — directly through TA Programming here:https://taprogramming.com/product/midi-cv-interface/ For more in-depth information, please visit the dedicated Studio MIDI And CV Interface webpage here:https://taprogramming.com/product/midi-cv-interface/ Watch TA Programming’s Studio MIDI And CV Interface introductory video here: https://youtu.be/X0Vrqw3NESE Watch musician and producer Lawrence Hart putting the Studio MIDI And CV Interface through its MPE-compatible musical paces here:https://youtu.be/fYqsuc-2iS0
IK Multimedia brings Hammond B-3X virtual instrument to iPad
In partnership with Hammond USA and Suzuki Music Corp. of Japan, IK’s Hammond B-3X is the first real Hammond® organ for iPad complete with Leslie™ speaker
December 17, 2019 – IK Multimedia announces the Hammond B-3X tonewheel organ virtual instrument for iPad. This new app maintains all the realism, detail and features found in the Mac/PC version, which was created in close collaboration with Hammond USA and Suzuki Music Corp. of Japan, but now available on an even more portable device, making it ideal for a streamlined live performance or travel recording rig.
Hammond B-3X for iPad meticulously recreates the sound, controls and entire effects signal path of the legendary Hammond® B-3. This comprehensive approach offers a level of realism and detail that will satisfy the most discriminating B-3 fans while also offering an affordable introduction to the unique world of tonewheel organs that can be enjoyed by all levels of players.
The new app is ideal for performing musicians looking for a simplified stage rig, letting them run Hammond B-3X on an iPad instead of a dedicated laptop, with full compatibility for MIDI controllers and Hammond digital organs. Hammond B-3X for iPad also supports the latest AudioUnits format, allowing it be used as a plug-in in many of today’s most popular recording apps, for an ultra-portable travel studio that delivers world-class realism and features.
IK’s industry-leading modeling techniques were employed to deliver fine details and nuances approved by the discerning ears of the Hammond Organ Company in Chicago. In addition to its authentic organ sound, this new instrument offers a full-rig chain including stomp effects, an extended version of IK’s Leslie® Collection with a rotary cabinet with mix-and-match amp and cabinet models plus four microphones, a parallel guitar amp with 4×12 cabinet, a mixer and three studio post effects.
It’s all in the details True to the hardware original, Hammond B-3X for iPad begins with 91 tonewheels, which are based on well-maintained Hammond organs that IK studied in locations around the world. These free-running tonewheels are mixed in real-time based on the notes played and drawbar levels, for authentic realism.
Hammond B-3X for iPad can be fine-tuned using IK’s detailed models of the original settings, controls and circuits, which were all approved by the Hammond Organ Company. Users can employ tonal filtering, select the independent key click, and engage the iconic Hammond percussion and chorus-vibrato circuits with advanced controls.
For deeper exploration and realistic touches, Hammond fans will appreciate a familiar simulation of the effects of “aging” components to control tonal balance, generator leakage and crosstalk, and the chorus circuit’s presence boost.
True tone, real experience All the controls are designed to recreate the exact experience of playing a classic, hardware B-3 organ – from the order of the chorus/vibrato settings to the placement of the percussion switches. Some additional features have been included as well, for modern convenience.
The drawbars update in real-time when the inverted drawbar settings keys are selected, allowing users to save 24 custom drawbar settings per preset. For live use, a “Controls” view hides the keyboard and enlarges the drawbars and switches for less distraction while playing. MIDI assignments for modern Hammond digital organs are also included, making it plug-and-play easy to perform with everything at arm’s reach.
Extended stomp box effects The organ feeds a 5-unit pedalboard in the STOMPS section that features overdrive, graphic EQ, stomp box-style chorus-vibrato, wah wah and spring reverb. Derived from IK’s award-winning AmpliTube® and T-RackS® software, these effects were carefully chosen and arranged for easy recreation of the widest range of iconic tonewheel organ sounds. They can also be assigned to MIDI control for on-stage use.
Real Leslie® sound The signal is then sent to a CABS section that includes a choice of real Leslie amps and speakers that can be mixed and matched, along with a parallel guitar amp and 4×12 cabinet. Using technology derived from IK’s award-winning AmpliTube 4 amplifier modeling, combined with an extended version of IK’s Leslie® Collection, Hammond B-3X for iPad’s cabinet section offers a massive range of sound-shaping option tabs. They include:
Setup – lets users fine tune the Leslie’s slow and fast speed settings – including acceleration and deceleration – and adjust the mic distance and configuration
Leslie Amp – offers a selection of five Leslie power amps (or a power amp modeling off switch) and two guitar power amps to use in any of five Leslie cabinets, with full control over gain, EQ and volume
Leslie EQ – enables the rotary speaker to be shaped with high-pass, low-pass and parametric mid EQ
Guitar Amp – adds a parallel guitar amp derived from AmpliTube into the mix for use with popular rock tones used by top rock and blues players; offers full tone-shaping controls and spring reverb
Mixer – blends the sound of the Leslie, with independent volume and panning of both the horn and drum mics, the parallel guitar amp, and the DI organ sound for unprecedented tonal flexibility
Add professional polish Finally, Hammond B-3X for iPad offers three rackmount studio effects derived from IK’s T-RackS Mixing and Mastering Workstation to add a final, professional touch.
IK’s Limiter 76 FET-based compressor offers an iconic, timeless sound; the EQ-81 adds classic console tone-shaping and warmth; and a digital reverb adds a pristine sense of space.
Pricing and availability Hammond B-3X for iPad is available from the Apple App Store® with a special introductory price of $99.99 through March 2020.
*Local pricing is determined by Apple, based on exchange rates.
the SynthTech E520 Hyperion Stereo Effects Processor is the new producers secret sweetness.
e520 hyerion stereo effects processor
this new effect processor is the latest module … wait is it a module? sure … but more than that it’s the latest Processor from Synthesis Technology. I say that it is more than a module because this thing can be slapped in a stand alone case (4ms pod) and used at line level with your gear. Not content with just being another eurorack module, this is firing shots a bit further.
When the kickstarter went live, it took less than 48 hours to surpass its goal. Now it is deep into its stretch goals and some videos of the development version are making their rounds on the interwebz.
Lets take a look at whats going on here and think about how this module can be a serious desktop stand alone processor for everything from lo-fi hip hop effects, to pristine delays, reverb, and mind altering spectral effects. all without taxing your silly CPU.
The Synthesis Technology E520 is a much anticipated FX module. The Kickstarter page has now gone live as of only 4 hours ago and is already more than 3/4 of the way funded.
more than 50% funded in only an hour!
Focused on Spectral FFT fx to manipulate audio. Pitch shifting vocoding and spectral crushing to name a few. the E520 is also capable of high quality time domain fx such as looping, delays, and more.
The Kickstarter has some interesting rewards such as early bird pricing and a bundle that includes a 4ms pod case for stand alone usage. check out the kickstarter now to secure your early bird price!
Paul is known for being an excellent interview and though we were planning on keeping this one to just an hour…. well there is just too much good stuff to talk about!
be sure to check out the kickstarter and share it around to support another impressive module from synthtech!
Doepfer dives deeper into industry-standard Eurorack small-format modular system with quirky quintet of polyphonic modules
GRAEFELFING, GERMANY: having made musical waves during a show-stopping showcase of prototypes closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designer Doepfer is proud to globally announce availability of its A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface — a quirky quintet of polyphonic modules that sees the trailblazing company diving deeper into the now-industry-standard Eurorack small-format modular system standard that it initiated and popularised with its ever-expanding A-100 ANALOG MODULAR SYSTEM — as of March 1… Who better to throw light on the thinking behind this quirky quintet than company CEO Dieter Doepfer himself. “Modular synthesizers are almost exclusively monophonic structures since true polyphonic patches require a lot of modules — at least four VCOs, four VCFs, four VCAs, and eight ADSRs for a ‘classic’ four-voice patch,” he begins. “But even then it’s difficult to control filter resonance or modulation depth of all the filters, for example, or the attack and decay time of all the envelope generators simultaneously. So now it’s possible to integrate these functions into the modular synth world with our polyphonic modules, though the idea is not just to recreate a standard polyphonic synth within the modular system but rather realise new polyphonic structures that go far beyond a standard polyphonic synth and also far beyond the typical monophonic structures of a modular system since they still offer access to all parameters via CV or gate.” Getting going, then,
the A-111-4 Quad VCO module features four precision CEM3340-based — triangle core — VCOs (Voltage Controlled Oscillators), each with its own separate internal +/- power supply (to ensure stability and prevent unwanted VCO synchronisation). Each VCO has the same individual controls, and inputs/outputs, as follows: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; Mod. (modulation) CV In (Control Voltage input); Modulation Destination — upper position equals exponential frequency modulation (XM) and lower position equals linear frequency modulation (LM) or pulse-width modulation of the rectangle waveform (PM), selectable via internal jumper; frequency modulation (FM) or pulse- width modulation (PWM) of the rectangle waveform; Mod. Level (modulation intensity); triangle waveform output; sawtooth waveform output; rectangle waveform output — about 50% without external pulse-width modulation; SYC (sync) input — (CEM3340-type) hard or soft sync selectable via internal jumper; and minimum 10 octaves range (with appropriate external control voltage). Continuing further down its familiar (silver-grey) front panel, a Master section for all four VCOs includes the following controls and inputs/outputs: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; exponential frequency modulation (XM) CV In (Control Voltage input); triangle waveform sum output; sawtooth waveform sum output; and rectangle waveform sum output. Typical applications include: fat-sounding monophonic VCO with the ability to adjust any intervals; paraphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and all four VCOs being processed by one VCF/VCA section; fully polyphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and four complete VCF/VCA sections; complex VCO patches with up to four VCOs by means of the — exponential and linear — frequency modulation features and sync functions.
Following in (traditional subtractive synthesis) sequence, the A-105-4 Quad Poly SSI VCF module is Doepfer’s first polyphonic filter, featuring four identical 24dB lowpass (SSM2044-type) filters. The module itself includes the following controls and inputs/outputs: F (frequency); FM (frequency modulation) intensity; Q (resonance); audio input L (level); CVF (control voltage frequency) attenuator; CVFM (control voltage frequency modulation) attenuator; CVQ (control voltage resonance) attenuator; CVL (control voltage level) attenuator; CVF (control voltage frequency) socket; CVFM (control voltage frequency modulation) socket; CVQ (control voltage resonance) socket; CVL (control voltage level) socket; FM (frequency modulation) 1 – 4 sockets; audio In (input) 1 – 4 sockets; and audio Out (output) 1 – 4 sockets, so each filter features a separate FM input as well as an audio input and output. The FM input is typically connected to the output of the associated envelope generator, such as Doepfer’s A-141-4 Quad Poly VCADSR, while the envelope amount for all four filters is controlled by the FM knob and the CVFM input by four built-in VCAs, which are also controlled by the FM control and CVFM input to also allow voltage control of the envelope amounts. Additionally, it is also possible to apply frequency modulation to all four filters — for example, using an LFO (Low Frequency Oscillator) patched into the CVF socket and using the associated (CVF) attenuator. The range of the audio input level (L) control also allows clipping/ distortion with typical A-100 ANALOG MODULAR SYSTEM audio levels — from, for example, the A-141-4 Quad Poly VCADSR module — at the filter inputs. This parameter is also voltage controllable, as is the resonance (Q). Applications include polyphonic patches requiring four VCFs with the same parameters.
Perfectly named, the A-132-8 Octal Poly VCA module is an octal VCA (Voltage Controlled Amplifier), primarily primed for polyphonic applications. As such, it includes four pairs of VCAs — each pair including two daisy-chained VCAs, with one VCA having a linear control scale and the other a linear or exponential control scale, selectable via internal jumpers. Two VCAs are provided for each voice since one VCA is usually required for the loudness envelope and another for velocity (or other functions like individual voltage-controlled loudness of each voice, amplitude modulation, and so on). All VCAs are DC coupled and can be used in specialised applications and also for processing control voltages. The module features two Default Gain controls — GL and GX — that enable opening of the first four VCAs (L) and/or second four VCAs (X), with GL and GX generating two internal (0 – +10V) control voltages which are connected to the switching contacts of the 1L – 4L sockets (controlling GL) and 1X – 4X sockets (controlling GX). If no patch cable is inserted into the socket in question then the internal default (GL or GX) control voltage is used to control the corresponding VCA. This is necessary when the VCA in question is not in use — when no external control voltage is available, for instance, otherwise the VCA would close and there would be no output signal even if the other VCA in the chain is open. On the other hand, as soon as a patch cable is inserted into one of the CV Inputs then the corresponding internal default control voltage — CL or CX knob — is no longer used to control the VCA in question; rather an external control voltage patched to the CV Inputs now controls the level of the VCA in question. The GL and GX controls are also useful for testing polyphonic patches — tuning VCOs, for example. Again, as implied by name,
the A-141-4 Quad Poly VCADSR module is a quad voltage-controlled envelope generator — again, primarily primed for polyphonic applications. As such, it features four ADSR-type voltage-controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor). Common manual controls and CVA, CVD, CVS, and CVR inputs with corresponding polarizers are available for the attack (A), decay (D), sustain (S), and release (R) parameters. All four envelope generators have a gate input (G1 – G4), a control LED, and an envelope output (Out1 – Out4). Applications include polyphonic patches, such as four envelope generators with the same envelope parameters to control four VCFs, VCAs, or other modules. Last, but by no means least, by providing four voices with a 1V/octave-standard CV Note (pitch control voltage) to control VCOs and a Gate output (to control envelope generators), alongside two additional (CV2 and CV3) control voltages, the appropriately-named
A-190-5 Polyphonic USB/Midi to CV/Gate Interface module does what it says on the tin. Those two additional control voltage outputs can be controlled by MIDI velocity, volume, modulation, pitch bend, aftertouch, or freely-assignable MIDI controllers. Multiple — four-voice monophonic (to control four monophonic voices by four successive MIDI channels); four-voice polyphonic (to control four monophonic voices by one MIDI channel) with several (rotating/non-rotating) sub-modes; two-voice polyphonic (to control two monophonic voices by one MIDI channel); and unison — modes are selected by switches with the result shown in the LCD. In play mode, for example, the LEDs of the first four switches display the gate states, while certain parameters of each mode can be edited. Ending on a high note, Dieter Doepfer deduces, “Modular synthesizers will still be predominantly used for monophonic sounds, as I’m well aware, but at least one polyphonic sound appears in many pieces of music and now it’s possible to integrate this into the modular synth world with our polyphonic modules.” Within Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can be ordered online from Doepfer directly (https://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €400.00 EUR, €200.00 EUR, €160.00 EUR, €160.00 EUR, and €300.00 EUR, respectively. Outside of Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can only be ordered from Doepfer dealers in the territories listed here: https://docs.doepfer.eu/en/ (Note that residents in countries without representation can, however, order from Doepfer directly.) For more in-depth information, please visit the dedicated A-111-4 Quad VCO webpage here: https://www.doepfer.de/A1114.htm
For more in-depth information, please visit the dedicated A-105-4 Quad Poly SSI VCF webpage here: https://www.doepfer.de/a1054.htm For more in-depth information, please visit the dedicated A-132-8 Octal Poly VCA webpage here: https://www.doepfer.de/a1328.htm For more in-depth information, please visit the dedicated A-141-4 Quad Poly VCADSR webpage here: https://www.doepfer.de/a1414.htm For more in-depth info, please visit the dedicated A-190-5 Polyphonic USB/Midi to CV/Gate Interface webpage here: https://www.doepfer.de/a1905.htm
What if I told you the SP 2400 is real… its not Behringer and Its NOT E-MU/Rossum. It is going to be built as a proper spiritual successor to the classic sampler many of us have grown to love so dearly. This is no clone, this is something more…
Obviously it’s a render, but it’s coming
Recently I came across a post showing what appears to be a circuit board for a “sp-2400” this name has long been tossed about in forums and back Alley dives as to what the successor to the famed sp-1200 could be. Over the years there have been many rumors, requests and out right denials from those involved in the classic sampler.
Oh hello , nice to meet you SP 2400
So what is speculation and what is fact?
FACTS…..24bit AND 12 bit, Aluminum construction, Classic sound with the Classic workflow. Filters per output, ability to sample with filter input or direct to dac. Features both usb host and client, Each pad will play cowbells (if you sample a cowbell to it) its not behringer… it is real, and it IS COMING SOON
How do I know all of this? well I was given the info directly from the manufacturer. I have basically been given a slow stream of info… I myself still do not know the release date, the price point, what info is on the screen and how the screen functions… I will give info as I can.
I can tell you… I have heard it (audio comparisons sent to me of an early build)… it sounds fantastic. It is going to make many of us very happy… and the corksniffers… so mad. I will be dropping random tid bits about this as they fall out the back of the secret laboratory this is being built in.
The latest brainchild of synth pioneer Dave Rossum, TRIDENT is a 100% analog, triple oscillator module that opens up a universe of dynamic timbral textures.
At its most basic level, TRIDENT is three precision audio VCOs, each sporting a unique variety of control voltage inputs.
The main or “Carrier” oscillator provides its three waveforms simultaneously. The two Modulation Oscillators each have a single output and a waveform selector. The Modulation Oscillators also have a voltage controlled Symmetry parameter which varies the duty cycle of the triangle wave output from sawtooth to triangle back to time reversed sawtooth, and also varies the sawtooth output to have an upward or downward kink in the middle, as well as controlling pulse width when the pulse waveform is selected.
And while each oscillator can be used independently if desired, it’s when they’re combined into a synchronous ensemble that the real sonic magic happens.
That magic is what we call Zing Modulation. Each of the Modulation Oscillators can modulate each of the Carrier outputs in an amount controlled by the Zing parameter. Zing Modulationis mathematically akin to ring modulation, but due to the synchronization of the oscillators (when an oscillator’s Sync button is on), the aharmonic sum and difference sidetones of ring modulation transform into complex but purely harmonic overtone spectra, which vary dynamically and dramatically with the frequency and waveshape modulations of the modulation oscillators. Each change in the Modulation Oscillator parameters – Frequency, Symmetry, Waveshape, Zing, and (in the case of Modulation Oscillator 2) Phase – will have a different effect on the timbre of each of the three Carrier waveshape outputs.
When the modulation oscillators are set to track the carrier oscillator, the waveshape will remain constant as the carrier frequency changes. In this case the overtone structure is determined by the settings and CV modulations of the modulation oscillators. If instead the modulation oscillators do not track the carrier, some of the overtone structure will vary relative to the carrier frequency.
What all this means is that whether you take advantage of Trident’s unique synchronous modulation capabilities (which you, of course, should), or just treat it as three superb, wide-range analog oscillators, TRIDENT offers a vast variety of dramatic sonic textures.
TRIDENT features include:
– Three precision analog oscillators with dedicated 1V/Octave inputs and coarse control ranges of 20Hz to 20kHz and modulated ranges of 0.01Hz to 25 kHz.
– Main Carrier oscillator with simultaneous triangle, sawtooth and pulse waveforms, with exponential and linear frequency modulation and pulse width modulation.
– Main Carrier oscillator hard sync input
– Modulation Oscillator 1 with selectable triangle, sawtooth and pulse waveforms with exponential frequency modulation, variable symmetry and symmetry modulation, and variable Zing level and Zing level modulation.
– Modulation Oscillator 2 with selectable triangle, sawtooth and pulse waveforms with exponential frequency modulation, variable symmetry and symmetry modulation, variable Zing level and Zing level modulation, and variable phase and phase modulation.
– Both Modulation Oscillators with independently selectable options to sync to the Main Carrier oscillator and track the Main Carrier oscillator
– Trident, like all Rossum Electro-Music modules, features solid construction, with thick aluminum panels, solid aluminum knobs, and quality components throughout.
TRIDENT is 30HP wide and 25mm deep.
Power requirements (max): 250mA +12V, 225mA -12V. Reverse polarity protected.
TRIDENT will be available this spring from Rossum Electro-Music dealers worldwide.
